Hisense started selling the PX4 Pro in the United States in late July at $3,999.99, through its own online store, Amazon and Best Buy. The ultra-short-throw laser projector was shown at CES in January and replaces the PX3-Pro, which landed in late 2024 at $3,499.
Underneath is a pure RGB triple-laser engine — Hisense’s current version is branded LPU Digital Laser Engine 3.0 — feeding a 0.47-inch DMD. The rating is 3,500 ANSI lumens peak and 3,400 ANSI lumens of colour brightness, which is an unusually narrow gap and the kind of number a projector can only quote when its light source produces colour directly rather than filtering it out of white. Throw ratio is 0.2:1, so the cabinet sits a few inches from the wall, and the quoted image range now runs from 80 all the way to 200 inches.
Colour is where Hisense has pushed hardest. The company claims 118% of the BT.2020 space and a factory Delta E at or below 0.9. The first figure needs reading carefully — coverage above 100% of a standard means the projector’s gamut volume extends past the reference triangle in some directions while potentially falling short in others, so it says more about how far the lasers reach than about how much of BT.2020 a film actually gets. The Delta E claim is the more useful of the two, and it is the sort of thing an independent calibration run can confirm or demolish.
Contrast is quoted at 6,500:1, with a seven-step adjustable iris doing part of the work. Dolby Vision, HDR10+, IMAX Enhanced and active 3D are all supported. The cabinet measures 21.3 by 11.3 by 5.6 inches and weighs 18.3 lb.
Off Google TV, onto VIDAA
The most consequential change is not near the top of the spec sheet. The PX3-Pro ran Google TV. The PX4 Pro runs VIDAA, Hisense’s in-house platform, with Netflix, Disney+ and Prime Video present as licensed apps and voice control built in. Networking has moved on in step — Wi-Fi 7, Bluetooth 5.4, AirPlay, Miracast and Control4 compatibility for installers.
For a buyer who mainly opens three or four streaming apps, the swap will barely register. The apps that matter are there and they run at full resolution, which is the only test most households apply. What goes away is app breadth beyond the majors, the Chromecast target built into every Google TV device, and the assumption that the home screen behaves the same as the one on the TV in the next room. What Hisense gains is ownership of that home screen, and everything that follows from owning it.
The timing is worth noting because the rest of the segment has been moving the other way. Formovie advertises official Google TV with native Netflix as a headline feature on the Theater Premium, and several Chinese brands spent the past two years paying for licensed platforms precisely so they could stop apologising for sideloaded streaming. Hisense is large enough in televisions to go its own way; a smaller brand attempting the same switch at $3,999 would have a harder conversation with buyers.
What the extra $500 buys over the PX3-Pro
Brightness climbs from 3,000 to 3,500 ANSI lumens. Quoted colour goes from 110% to 118% of BT.2020. Maximum image size stretches from 150 to 200 inches, and throw ratio tightens marginally from 0.22 to 0.2. Contrast is the biggest jump on paper, from 3,000:1 to 6,500:1, though the iris is part of that story and an iris-assisted figure is not the same thing as native panel contrast.
Two hundred inches is the specification most likely to be quoted and least likely to be used. At that size the same 3,500 lumens are spread across roughly 1.8 times the area of a 150-inch screen, and an ultra-short-throw projector needs an ambient-light-rejecting screen to hold black levels at any size. Nobody who buys a 200-inch ALR screen is going to notice the projector’s price.
240Hz, four HDMI ports and 66 watts of Devialet
Hisense quotes 1ms low latency at 2K/240Hz and certifies the projector for AMD FreeSync Premium, with VRR and MEMC alongside. There are four HDMI inputs — two at 2.1 and two at 2.0 — plus USB 3.0 and 2.0, optical out, gigabit ethernet and Xbox Cloud Gaming on the platform. A 240Hz mode on an ultra-short-throw is still rare, and it is the clearest sign that Hisense expects these to end up in living rooms with a console under them rather than in dedicated cinema rooms.
The sound system is a six-speaker array rated at 66W maximum, tuned by the French hi-fi house Devialet, with Dolby Atmos and DTS:X decoding. Ultra-short-throw projectors have a structural advantage here that portables never will — the cabinet is furniture-sized and sits directly beneath the screen, so audio is arriving from roughly the right place and there is room for real drivers. Whether 66W in a projector chassis makes a soundbar redundant depends entirely on the room, but the physical starting point is far better than anything a battery-powered box can offer.
Where $3,999 lands
The number sits in a crowded stretch of the market. The Theater Premium, the current top of Formovie’s Theater line, carries a $3,499 list price with 2,200 ISO lumens, 107% BT.2020, Bowers & Wilkins audio and Google TV, and it has been trading well below list for months. Higher up, the LTV-3500 Pro from AWOL Vision asks $5,999 list with a similar brightness rating and a considerably heavier custom-install pitch. Hisense has placed the PX4 Pro between them and leaned on brightness and colour to justify the position.
It is also worth watching how the PX4 Pro sits against Hisense’s own portable line. The C2 Ultra uses the same triple-laser approach in a body that can be carried between rooms, at roughly half the price, and we compared it against JMGO’s N1S Ultra 4K earlier this week. Ultra-short-throw buys screen size, cabinet audio and a permanent install; it costs mobility and demands a specific wall.
The claim that deserves independent measurement first is the contrast figure. A 6,500:1 rating with a seven-step iris is a statement about the projector in isolation, and an ultra-short-throw’s real black level is decided by the screen it fires into and the light bouncing around the room. Hisense does not include a screen at $3,999. Until someone puts a meter on a PX4 Pro against a proper ALR surface, the honest position is that the colour engine looks like a genuine step forward and the contrast number is still a promissory note.
